Serving as both an introduction to fifteenth-century Italian painting and as a text on how to interpret social history from the style of pictures in a given historical period, this new edition to Baxandall's pre-eminent scholarly volume examines early Renaissance painting, and explains how the style of painting in any society reflects the visual skills and habits that evolve out of daily life. Renaissance painting, for example, mirrors the experience of such activities as preaching, dancing, and gauging barrels. The volume includes discussions of a wide variety of painters, including Filippo Lippi, Fra Angelico, Stefano di Giovanni, Sandro Botticelli, Masaccio, Luca Signorelli, Boccaccio, and countless others. Baxandall also defines and illustrates sixteen concepts used by a contemporary critic of painting, thereby assembling the basic equipment needed to explore fifteenth-century art.

    Fresh coats of paint and newly pasted posters appear overnight in cities across the world. New artists, new ideas, and new tactics displace faded images in a perpetual process of renewal and metamorphosis. From Los Angeles to Barcelona, Stockholm to Tokyo, Melbourne to Milan, wall spaces are a breeding ground for graphic and typographic forms as artists unleash their daily creations.Current graffiti art is reflective of the world around it. Using new materials and techniques, its innovators are creating a language of forms and images infused with contemporary graphic design and illustration. Fluent in branding and graphic imagery, they have been replacing tags with more personal logos and shifting from typographic to iconographic forms of communication.Street Logos is a worldwide celebration of these new developments in twenty-first-century graffiti, an essential sourcebook for all art and design professionals, and a delight to everyone excited by the vitality of the street.

    Born in the heart of Europe in the midst of World War I, Dada displayed a raucous skepticism about accepted values. Its embrace of new materials, of collage and assemblage techniques, of the designation of manufactured objects as art objects as well as its interest in performance, sound poetry and manifestos fundamentally shaped the terms of modern art practice and created an abiding legacy for postwar art. Yet, while the word Dada has common currency, few know much about Dada art itself. In contrast to other key avant-garde movements, there has never been a major American exhibition that explores Dada specifically in broad view. Dada--the catalogue to the exhibition on view in 2006 at the National Gallery of Art in Washington and The Museum of Modern Art in New York presents the hybrid forms of Dada art through an examination of city centers where Dada emerged: Zurich, Berlin, Cologne, Hanover, New York and Paris. Covered here are works by some 40 artists made in the period from circa 1916, when the Cabaret Voltaire was founded in Zurich, to 1926, by which time most of the Dada groups had dispersed or significantly transformed. The city sections bring together painting, sculpture, photography, collage, photomontage, prints and graphic work.Relying on dynamic design and vivid documentary images, Dada takes us through these six cities via topical essays and extensive plate sections; an illustrated chronology of the movement; witty chronicles of events in each city center; a selected bibliography; and biographies of each artist--accompanied by Dada-era photographs.

    By the time of the 1917 Bolshevik revolution, Fr Pavel had become a leading voice in Russia's great movement in religious philosophy, a movement whose roots lay in the rich ground of nineteenth-century Russian monasticism and whose branches included the work of Bulgakov, Berdiaev, and Solovyev. In the 1920s and 1930s the Soviets violently destroyed this splendor of Russian religious thought. In 1922, Fr Pavel was silenced, and, after a decade of forced scientific work for the regime, he was arrested on false charges, tried, imprisoned, and, in 1937, murdered by KGB directive. Aleksandr Solzhenitsyn honored Fr Pavel in The Gulag Archipelago. Iconostasis is Fr Pavel's final theological work. Composed in 1922, it explores in highly original terms the significance of the icon: its philosophic depth, its spiritual history, its empirical technique. In doing so, Fr Pavel also sketched a new history of both Western religious art and the Orthodox icon: a history under the direct operation of the Holy Spirit. The work is original, challenging and profoundly articulate. This translation is the first complete English version.

    Katsushika Hokusai (1760-1849) is not only one of the giants of Japanese art and a legend of the Edo period, but also a founding father of Western modernism, whose prolific gamut of prints, illustrations, paintings, and beyond forms one of the most comprehensive oeuvres of ukiyo-e art and a benchmark of japonisme. His influence spread through Impressionism, Art Nouveau, Jugendstil, and beyond, enrapturing the likes of Claude Monet (who bought 23 of his prints), Berthe Morisot, Edgar Degas, Mary Cassatt, and Vincent van Gogh. Hokusai was always a man on the move. He changed domicile more than 90 times during his lifetime and changed his own name through at least seven professional pseudonyms. In his art, he adopted the same restlessness, covering the complete spectrum of Japanese ukiyo-e ("pictures of the floating world") practice in painting and woodblock, from single-sheet prints of landscapes and actors to erotic books, album prints, illustrations for verse anthologies and historical novels, and surimono, which were privately issued prints for special occasions. Hokusai's print series Thirty-Six Views of Mount Fuji, published between 1826 and 1833 is the artist's most renowned work and, with its soaring peak through different seasons and from different vantage points, marked the towering summit of the Japanese landscape print. The series' The Great Wave off Kanagawa, also known simply as The Great Wave , is one of the most recognized images of Japanese art in the world. This TASCHEN introduction spans the length and breadth of Hokusai's career with key pieces from his far-reaching portfolio. Through these meticulous, majestic works and series, we trace the variety of Hokusai's subjects, from erotic books to historical novels, and the evolution of his vivid formalism and decisive delineation of space through color and line that would go on to liberate Western art from the constraints of its one-point perspective and unleash the modernist momentum.

    It's the greatest pioneering story in history, uniquely combining the heroic colonization of an intractable virgin land, the ghastly dangers & high adventure of Arctic exploration, & the grimmest saga of penal servitude. 400 years of continual human striving chart its course, a drama of unremitting extremes & elemental confrontations, pitting man against nature, & man against man. East of the Sun, a work of panoramic scope, is the 1st complete account of this strange & terrible story. To most Westerners, Siberia is a vast & mysterious place. The richest resource area on the face of the earth, its land mass covers 5 million square miles-7.5% of the total land surface of the globe. From the 1st foray in 1581 across the Ural Mountains by a band of Cossack outlaws to the fall of Gorbachev, East of the Sun is history on a grand scale. With vivid immediacy, Bobrick describes the often brutal subjugation of Siberia's aboriginal tribes & the cultures that were destroyed; the great 18th-century explorations that defined Siberia's borders & Russia's attempt to "extend" Siberia further with settlements in Alaska, California & Hawaii; & the transformation of Siberia into a penal colony for criminal & political exiles, an experiment more terrible than Australia's Botany Bay. There's the building of the stupendous Trans-Siberian Railway across 7 time zones; Siberia's key role in the bloody aftermath of the October Revolution in 1917; & Stalin's dreaded Gulag, which corrupted its very soil. Today, Siberia is the hope of Russia's future, now that all her appended republic have broken away. Its story has never been more timely.

    Here in their own words and art, the principals of the movement create a composite picture of Dada--its convictions, antics, and spirit. First published in 1951, this treasure trove remains, as Jack Flam states in his foreword to the second edition, "the most comprehensive and important anthology of Dada writings in any language, and a fascinating and very readable book." It contains every major text on the Dada movement, including retrospective studies, personal memoirs, and prime examples. The illustrations range from photos of participants, in characteristic Dadaist attitudes, to facsimiles of their productions.

    They are published together in one volume for the first time, accompanied by newly commissioned pieces : including a major collaborative essay by John Berger and his son, the painter Yves Berger; and an exchange of letters on drawing between John Berger and the American art historian James Elkins (author of, amongst other books: What Painting Is, The Object Stares Back, Stories of Art and Pictures and Tears).As we have come to expect from Berger, the book offers many fascinating and unexpected insights into this intriguing subject, ranging from his account of a journey deep into the Chauvet Caves to see some of the earliest drawings ever made, right up to present day encounters with the contemporary drawn image.

    From the controversy of his early work to the political storm surrounding the arrival of the exhibition Sensation at the Brooklyn Museum of Art, his work has redefined international expectations of modern art. Even people with only a passing knowledge of art are familiar with his installations of a shark, cows, and sheep pickled in formaldehyde. "On the Way to Work" is an extremely candid autobiography of Hirst presented in a series of conversations. He expounds in unpredictable and scabrously funny ways on everything from art to celebrity to sex, and these frank and intimate conversations are punctuated with art from all phases of his career chosen by Hirst himself. This book is a window into Hirst's world: growing up in working class northern England, roughhousing in pubs, obsessing about life and death, questioning art world fame, and believing that art and beauty make a difference in the modern world. In addition to the attention he generates, this dynamic artist also garners critical acclaim-he is the winner of the Turner Prize and, ever since the groundbreaking exhibition that he organized as a fledgling artist in the early nineties, he is considered the unofficial leader of the Young British Artists movement. Hirst's appeal goes beyond the world of art; he's an influential figure to architects, designers, and the fashion crowd as well. Engaging, well-illustrated, and a real event in the art world, "On the Way to Work," like its subject, will generate controversy and acclaim.

    Encompassing a grand sweep of human history, A History of the World in 100 Objects begins with one of the earliest surviving objects made by human hands, a chopping tool from the Olduvai gorge in Africa, and ends with objects which characterise the world we live in today. Seen through MacGregor's eyes, history is a kaleidoscope - shifting, interconnected, constantly surprising, and shaping our world today in ways that most of us have never imagined. A stone pillar tells us about a great Indian emperor preaching tolerance to his people; Spanish pieces of eight tell us about the beginning of a global currency; and an early Victorian tea-set speaks to us about the impact of empire. An intellectual and visual feast, this is one of the most engrossing and unusual history books published in years. 'Brilliant, engagingly written, deeply researched' Mary Beard, Guardian 'A triumph: hugely popular, and rightly lauded as one of the most effective and intellectually ambitious initiatives in the making of 'public history' for many decades' Sunday Telegraph 'Highly intelligent, delightfully written and utterly absorbing ' Timothy Clifford, Spectator 'This is a story book, vivid and witty, shining with insights, connections, shocks and delights' Gillian Reynolds Daily Telegraph

    Non-taxed freeport warehouses around the globe are stacked with art held for speculation. One of Jeff Koons’ five chromium-plated stainless steel balloon dogs sold for 50 percent more at auction than the previous record for any living artist. A painting by Christopher Wool, featuring four lines from a Francis Ford Coppola movie stencilled in black on a white background, sold for $28 million. In The Orange Balloon Dog, economist and bestselling author Don Thompson cites these and other fascinating examples to explore the sometimes baffling activities of the high-end contemporary art market. He examines what is at play in the exchange of vast amounts of money and what nudges buyers, even on the subconscious level, to imbue a creation with such high commercial value.Thompson analyzes the behaviours of buyers and sellers and delves into the competitions that define and alter the value of art in today’s international market, from New York to London, Singapore to Beijing. Take heed if your millions are tied up in stainless steel balloon dogs—Thompson also warns of a looming bust of the contemporary art price balloon.

    One of the most fascinating representatives of the Belle Epoque, Klimt is chenshed for his rich use of ornament and his paintings of fin de siecle Viennese high society, which bring to life the decadence of the era through vibrant colours and patterns. Yet there can be no doubt about Klimt's greatness as a draughtsman. Remarkable above all is the intensely sensual mood that he establishes in his limpid, fluid drawings and watercolours; the line with which his subjects are described explores and caresses as though the drawing itself was an act of seduction. Here, Rainer Metzger brings together hundreds of Klimt's works on paper in a way that enriches our knowledge of the artist and enhances the visual impact of his oeuvre. Many revolve around Klimt's taboo-breaking main themes - the naked woman, erotica and homoerotica - while others provide allegorical and historical insights. Between these...

    Art, argues the distinguished theoretician Boris Groys, is hardly a powerless commodity subject to the art market's fiats of inclusion and exclusion. In Art Power, Groys examines modern and contemporary art according to its ideological function. Art, Groys writes, is produced and brought before the public in two ways -- as a commodity and as a tool of political propaganda. In the contemporary art scene, very little attention is paid to the latter function. Arguing for the inclusion of politically motivated art in contemporary art discourse, Groys considers art produced under totalitarianism, Socialism, and post-Communism. He also considers today's mainstream Western art -- which he finds behaving more and more according the norms of ideological propaganda: produced and exhibited for the masses at international exhibitions, biennials, and festivals. Contemporary art, Groys argues, demonstrates its power by appropriating the iconoclastic gestures directed against itself -- by positioning itself simultaneously as an image and as a critique of the image. In Art Power, Groys examines this fundamental appropriation that produces the paradoxical object of the modern artwork.

    Inspired by a unique artistic vision grounded in the deliberate irrationality of Dada and the incongruous vision of Surrealism, Ray created a gallery of striking photographs: unforgettable images that etch themselves into the mind and transform our perceptions of reality. This beautiful large-format volume reproduces on coated stock a rich selection of these works, created amid the intellectual and artistic ferment of the 20's and 30's.To achieve his remarkable effects, Ray experimented with various techniques: over and under exposure, shooting through different fabrics, superimposing images, and zeroing in on tiny details. In his words: "The removal of inculcated modes of presentation, resulting in apparent artificiality or strangeness … is to be welcomed." To preserve the full dramatic impact of his ground-breaking work, Dover has carefully and painstakingly reproduced these photographs from a rare gravure edition. The photographs are divided into 5 groupings:Photos 1–24: general subjects (still lifes, rooms, landscapes, cityscapes, flowers)Photos 25–42: female figures, mainly nudesPhotos 43–66: women's faces (including Gertrude Stein)Photos 67–84: celebrity portraits (Ray, Dalí, Tzara, Sinclair Lewis, Joyce, Eluard, Breton, Derain, Braque, Matisse, Picasso, and others)Photos 85–104: rayographs, "cameraless" compositions created by resting objects on unexposed film Also included in this edition are acclamatory texts by Eluard, Breton, and Tzara in the original French with English translations; a German text by Rrose Sélavy (pseudonymous) with English translation; an Introduction by Ray with French translation, and a portrait of Ray by Picasso.Today, Ray's individual photographs command high prices on the collector's market. Indeed, the original edition of this book sells for hundreds of dollars. The publication of this inexpensive Dover edition thus allows photographers, artists, designers, and students of art and photography an unparalleled opportunity to savor and study these iconoclastic masterpieces. Most of the photos are full page, or nearly so, and reveal the profoundly original vision of a man for whom the violation of convention was "far preferable to the monstrous habits condoned by etiquette and estheticism."

    Nobody knows the truth. Nine wholesome University students mountaineering in the Urals go missing, and are later uncovered from the snows of a bleak forest’s edge in the Siberian Taiga, in a series of grisly discoveries. Why were the climbers wearing no boots? Why were stout branches of the forest pines singed to a height of thirty feet? What were the mysterious markings in the bark of nearby trees? What was so-called “overwhelming force” that was capable of breaking eight ribs in a single blow without bruises? Why the KGB infiltrated all the search parties and attended the funerals? Why the clothes were tested for radiation? The authoritative book - by international author and investigative journalist: Svetlana Oss (Osadchuk) who has been the leading commentator of this profound mystery since Moscow Times first sponsored her 2007-2008 investigation. The savage events of 1st February 1959, which took nine lives and left a trail of smashed and semi-naked bodies across the slopes of Mount Ortoten, have confounded every credible explanation. Wild and convincing theories abound. All of them are flawed by the facts. Was it sex? Was it hypothermia? Was it robbers? In the first reportage to be published in the English language, The Moscow Times' meticulous coverage presented the existing versions that have proliferated over fifty years, carefully sifting each idea, from mad guesses by superstitious nuts, to reasoned findings of the official investigation. Now Svetlana Oss formulates the true answer. 'Don't go there' explains for the first time how this odyssey by nine seasoned climbers, nine experienced members of the Ekaterinburg University Climbing Society came to end in disaster. New information, new analysis, new brains - the answer will astound you. "I am sure that nothing else that I have written has ever made such a noise in the world, and no wonder. This mystery has an invariable and puzzling quirk: at least one circumstance is inevitably contradicted by some other. Not a single explanation out of the many is able to conquer the riddle – there is always at least one fact that completely ruins whatever theory one prefers. This excites people. It excites me."